Rosa Nagle

Rosa Nagle

I was born in Winthrop, MA. I am the daughter of Italian immigrants. I grew up mostly in Revere, my young childhood in East Boston. I have a BA in English from UMass at Boston.

Dramatic writing is my key to exploring my dream world. Poetry started my quest to translate inner vision to outer reality. From the time I could write, I have been writing poetry, transforming images and color and...
I was born in Winthrop, MA. I am the daughter of Italian immigrants. I grew up mostly in Revere, my young childhood in East Boston. I have a BA in English from UMass at Boston.

Dramatic writing is my key to exploring my dream world. Poetry started my quest to translate inner vision to outer reality. From the time I could write, I have been writing poetry, transforming images and color and feeling into a sort of magic. I’ve always felt a sense of magic when creating verse. As a child, I was in love with the magic of sensory perceptions and rhyme, and the mix of concrete and abstract images.

When I became a teenager, that magical process led me to create new worlds, fantastical worlds, for the stage. I can not pinpoint exactly when I turned to dramatic writing at this time, for it wasn’t a conscious decision. Drama began to envelope me. During my early tinkerings with drama, my brother and I, after school, would gather our friends to our house. I would type out scenes on my Smith Corona. And, every day, our friends would act out my little plays in our living room. Watching, hearing my small plays performed gave me a sense of fulfillment.

Then, as a senior in high school, I stopped writing plays. I concentrated on studying and writing poetry throughout college, and afterward. Then, one day, when I was in my forties, and quite unexpectedly, my first character, June, appeared to me in a drama I've entitled ON THE DEATH OF JUNE. I have been writing drama ever since. For some unknown reason, I have come full circle. I am a playwright again. I write both indoor and outdoor/site-informed plays. I was a co-producer of a troupe director Amy West founded, Contemporary Park Shorts, from 2016-2018. In 2016, we performed my outdoor/immersive play October at Spy Pond, in Arlington, MA. In 2018, I received a grant for my existential comedy Tangles In Your Teeth. We had a workshop performance of this play in 2018, at Fort Point Theatre Channel as part of their Senses Reading Series.

My goal is to continue writing and creating strange worlds. My wish is to find one or two theaters or groups with whom to work, and work continually with these groups.

Plays

  • Ghost Stories
    In this play, a family is telling spooky campfire stories. But, the various stories reveal we are all truly haunted by “ghosts”, in many forms. Our stories bring us together, as well as tear us apart, for, ultimately, there is no scarier story than that of our hidden ghost. My play shifts among different time periods, using the idea of time differently. And, the split stage, where one side, the "campfire...
    In this play, a family is telling spooky campfire stories. But, the various stories reveal we are all truly haunted by “ghosts”, in many forms. Our stories bring us together, as well as tear us apart, for, ultimately, there is no scarier story than that of our hidden ghost. My play shifts among different time periods, using the idea of time differently. And, the split stage, where one side, the "campfire" side, and one side the "story" side, exists, uses space differently.
  • 3
    3 is the story of a woman, Diana, who is a survivor of the Boston Marathon Bombing last year. That event is the catalyst that brings her on a quest for answers about her family, her marriage, her life. Diana's quest reveals a truth that she never expected. She discovers that she does love her husband Andrew, and that her marriage is worth saving. But, as 3 unfolds, Diana finds that, in her life, as in all...
    3 is the story of a woman, Diana, who is a survivor of the Boston Marathon Bombing last year. That event is the catalyst that brings her on a quest for answers about her family, her marriage, her life. Diana's quest reveals a truth that she never expected. She discovers that she does love her husband Andrew, and that her marriage is worth saving. But, as 3 unfolds, Diana finds that, in her life, as in all our lives, there are some answers we never receive. The actions of others are not often explicable. Sometimes, a person's reasons for his behavior does not make sense to anyone but him. Diana's story in 3 is actually presented as three stories woven into one-- Diana's story, her brother Gianni's story, and her parents' story. Our paths always intermingle so that one life never stands alone. In 3, Dad/Giacomo, is a commedia dell'arte actor. He appears as Pagliaccio in the play. I've included a lazzi. 3 combines drama, poetry, and comedy.
  • ON THE DEATH OF JUNE
    Mary, a highly intelligent, hypersensitive woman, along with her childhood friend Louisa, tries to cope with the death of her sister, June. Incapable of facing reality, Mary shuts her husband, Robert, and Louisa, out of her thoughts. Yet, they, too, are grieving the loss of their dear June, for different (and perhaps illicit reasons). Flitting often into her own thoughts and dreams, using Tarot cards and any...
    Mary, a highly intelligent, hypersensitive woman, along with her childhood friend Louisa, tries to cope with the death of her sister, June. Incapable of facing reality, Mary shuts her husband, Robert, and Louisa, out of her thoughts. Yet, they, too, are grieving the loss of their dear June, for different (and perhaps illicit reasons). Flitting often into her own thoughts and dreams, using Tarot cards and any divination possible, Mary fights in vain, and so do those near her, to understand this tragedy. How did June die? No one is sure. What is real? What is a dream? When ARE dreams reality? Try to solve the mystery...if you dare.
  • October
    The year is 1972, Halloween. Fictitious small town Nathansville, Massachusetts, is humming with ghouls and ghosts. An eleven-year-old boy, Charlie, has gone missing. Han, a police captain, is determined to find the missing child. She is haunted by ghosts of other missing children. Are the cases related? How do a wounded soldier, an actress, and a newspaper editor fit into the story? The audience is led through...
    The year is 1972, Halloween. Fictitious small town Nathansville, Massachusetts, is humming with ghouls and ghosts. An eleven-year-old boy, Charlie, has gone missing. Han, a police captain, is determined to find the missing child. She is haunted by ghosts of other missing children. Are the cases related? How do a wounded soldier, an actress, and a newspaper editor fit into the story? The audience is led through a cemetery on two chases, a search for Charlie, and a hunt for the antagonist, in this interactive, immersive, outdoor mystery that weaves a story of guilt, betrayal, and justice.
  • Blood Cake
    Synopsis:

    In my play, Bianca is trying desperately to organize her tapes. She is recounting important incidents which affected her life-- her rape, her family’s abandonment, and, lastly, her account of Sam, “the one who got away”, her one, true love. Bianca feels the weight of her age, 69. She wants to leave her history to her daughter, Louisa, so that Louisa can understand Bianca, who she was,...
    Synopsis:

    In my play, Bianca is trying desperately to organize her tapes. She is recounting important incidents which affected her life-- her rape, her family’s abandonment, and, lastly, her account of Sam, “the one who got away”, her one, true love. Bianca feels the weight of her age, 69. She wants to leave her history to her daughter, Louisa, so that Louisa can understand Bianca, who she was, why she became the woman she is. Though she tries not to concentrate on it, the past is being repeated, in her own family. Bianca senses this, and we are shown this. Bianca’s daughter, Louisa, has distanced herself from Bianca. Louisa, a single mom, her own “true love” having abandoned her, holds a grudge against Bianca and husband Salvatore for raising her son Steven, years ago. Can Bianca mend her relationship with Louisa? Is it possible? Is it too late?
  • A New Century
    A short, political piece that explores American attitudes toward immigration. Every new century sounds like the one before it.
  • Tangles In Your Teeth
    It's Thanksgiving. Julia is doing her best to deal with her husband Sam's infidelity, "passion, fury, middle-age decay", as she calls it. Along with inner turmoil, Julia has to deal with her family: Amelia, the patriarch who firmly believes in the family folklore than she and her children are descended from werewolves, originating with 19th-century Leonora DiNapoli; Julia's brother,...
    It's Thanksgiving. Julia is doing her best to deal with her husband Sam's infidelity, "passion, fury, middle-age decay", as she calls it. Along with inner turmoil, Julia has to deal with her family: Amelia, the patriarch who firmly believes in the family folklore than she and her children are descended from werewolves, originating with 19th-century Leonora DiNapoli; Julia's brother, Chuck, an exterminator who continually has existential experiences; and her son, Happy, who is serious, somber, and, perhaps, the non-definition of "happy". This play was inspired by Shakespeare’s play A Midsummer Night’s Dream. My character Julia, and cheating husband Sam, allude to Helena and Demetrius. My play is meant to be interactive, the audience joining the story for two scenes. It is written for an outdoor setting, and is easily adaptable for indoors.